Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists-Tommaso Minardi, Francesco Hayez, and Gioacchino Toma-from three distinct regions in Italy prior to, during, and directly following political unification in 1861. Each artist, working in Rome, Milan, and Naples, respectively, adopted the visual narratives particular to his region, using style to communicate aspects of his political, religious, or social context. By focusing on these three figures, this study will introduce readers outside of Italy to their diversity of practice, and provide a means for understanding their place within the larger field of international nineteenth-century art, albeit a place largely distinct from the better-known French tradition. The book will be of interest to scholars working in art history, nationalism, Italian history, or Italian studies.

Politics, Humor, and the Counterculture discusses the post-war period (1945-1972) through the lenses of three artists: Ken Nordine, Lenny Bruce, and Firesign Theatre. Their humor cut through the hypocrisy of the Cold War and the prevailing culture and expanded our horizons. From the Beats to the peace and civil rights movements, these humorists illuminate America from their unique perspectives. Vwadek P. Marciniak highlights the poetic nature of humor as well as its insights on our political and social habits: addiction, conformity, marketing, and fear. The modern is giving way to the postmodern, the fixed to an existential attitude: humanism and humor.

Representations of music were employed to create a wider 'Orient' on the pages, stages and walls of nineteenth-century Britain. This book explores issues of orientalism, otherness, gender and sexuality that arise in artistic British representations of non-European musicians during this time, by utilizing recent theories of orientalism, and the subsidiary (particularly aesthetic and literary) theories both on which these theories were based and on which they have been influential. The author uses this theoretical framework of orientalism as a form of othering in order to analyse primary source materials, and in conjunction with musicological, literary and art theories, thus explores ways in which ideas of the Other were transformed over time and between different genres and artists. Part I, The Musical Stage, discusses elements of the libretti of popular musical stage works in this period, and the occasionally contradictory ways in which 'racial' Others was represented through text and music; a particular focus is the depiction of 'Oriental' women and ideas of sexuality. Through examination of this collection of libretti, the ways in which the writers of these works filter and romanticize the changing intellectual ideas of this era are explored. Part II, Works of Fiction, is a close study of the works of Sir Henry Rider Haggard, using other examples of popular fiction by his contemporary writers as contextualizing material, with the primary concern being to investigate how music is utilized in popular fiction to represent Other non-Europeans and in the creation of orientalized gender constructions. Part III, Visual Culture, is an analysis of images of music and the 'Orient' in examples of British 'high art', illustration and photography, investigating how the musical Other was visualized.

Diese Anthologie versammelt 15 Beiträge internationaler Autorinnen und Autoren, die sich mit Fragen der Einschreibung und Institutionalisierung von Gender Studies in der Disziplin Kunstgeschichte auseinander setzen. Diskutiert werden einerseits die kunsthistorische Kanonbildung und die Möglichkeiten des Zugangs von Künstlerinnen in das Kunstsystem. Anderseits werden transgressive, hybride Bilder von «Weiblichkeit» und «Männlichkeit» von der frühen Neuzeit bis in die Gegenwart untersucht sowie neuere Ansätze postkolonialer und queerer Theorie vorgestellt. Ce volume rassemble 15 contributions d’auteur-e-s de réputation internationale qui abordent la question de l’inscription et de l’institutionnalisation des études genre dans la discipline de l’histoire de l’art. La constitution des canons artistiques, tout comme les possibilités d’accès des femmes au système artistique sont analysées. Par ailleurs, les représentations hybrides et transgressives de la « féminité » et de la « masculinité » sont interrogées de la Renaissance à nos jours, ainsi que les apports des études post-coloniales et queer. Written by authors of international repute, the 15 articles compiled here address the inscription and institutionalisation of gender studies in the field of art history. They analyze the formation of art-historical canons and the possibilities for women of accessing the art system. Moreover, they explore transgressive, hybrid images of «femininity» and «masculinity» from the early modern times to the present. Recent approaches in post-colonial and queer theory are also discussed.

Constructed space is defined by its shape, by the materials with which it is enclosed and by the objects that are placed within or decorate its exterior or interior. The interaction of these crafted objects or decorated surfaces with space provides viewers or inhabitants with visual clues about the environment as well as visual cues about decorum: viewers can know what kind of behaviour is expected and what the space means. Furnishings and dress, textile panels and clay pots, stained glass and gesso panels, all defined as craft or decorative art, give architectural space, defined as high art, its character: without craft, architecture is empty and devoid of meaning. This engaging collection of essays presents the first sustained exploration of the relationship of craft to architectural spaces. The book unravels the complex ways in which craft controls, manipulates, organises and defines space, to highlight how the relationship between craft and space can be understood as a form of communication between related parts that combine to form a unified whole.

This is volume one in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the first volume discusses the theories and discourses that underpinned nineteenth-century design, ranging from design reform to aesthetics, and from the question of ornament to design education. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

In the era of the Anthropocene, artists and scientists are facing a new paradigm in their attempts to represent nature. Seven chapters, which focus on art from 1780 to the present that engages with Nordic landscapes, argue that a number of artists in this period work in the intersection between art, science, and media technologies to examine the human impact on these landscapes and question the blurred boundaries between nature and the human. Canadian artists such as Lawren Harris and Geronimo Inutiq are considered alongside artists from Scandinavia and Iceland such as J.C. Dahl, Eija-Liisa Ahtila, Toril Johannessen, and Bjoerk.

Material and Visual Cultures Beyond Male Bonding, 1870-1914 presents the first cross-disciplinary analysis of the visual and material representations and spaces of male same-sex culture in turn-of-the-century Britain which positions intimacy as its central object. Through both historical and theoretical lenses, this groundbreaking study considers photographs, interior design, decorative art, architecture and illustrations from the popular press to reveal the interwoven narratives of intimacy, aesthetics and identity. The author sustains close readings to expose the challenges the representations of 'men together' posed not only for the men of the time, but also for the contemporary viewer and scholar.

The poet and artist Marcel Broodthaers (1924-76) is widely recognized as a key figure in 20th century art who questioned the nature of art, the role of the artist, the functioning of the museum and of the art market. This book sets out Broodthaers's strategy for artistic success and examines the dialogue into which he entered with his contemporaries and predecessors in 19th century French poetry, Pop and Conceptual Art, including Stephane Mallarme, Charles Baudelaire, Marcel Duchamp and Rene Magritte. It provides a broad overview of his objects, paintings, films, slides, books and installations, and his focus upon relationships, also central to Post-Structuralist and postmodern theories. The visual qualities of his works, combining the material with the poetic, his wit and irony, are examined in relation to his subtle method of questioning and contradicting, defying conventional systems and definitions. The author explores the wider framing contexts in which things are presented and the geographical context via maps, notions of the voyage and a sense of place. Institutional critique, the artist's political position and moral responsibilities in society are discussed by analyzing the responses of Broodthaers, Daniel Buren, Joseph Beuys and Hans Haacke to a series of museum events in the early 1970s.

The Centennial decade was an era of ambivalence, the United States still unresolved about the incomprehensible damage it had wrought over four years of Civil War, and why. Philadelphia's 1876 Centennial Exhibition -- a spectacular international event celebrating one hundred years of American strength, unity, and freedom -- took place in the immediate wake of this trauma of war and the failures of Reconstruction as a means to restore power and patriotism in the nation's struggle to rebuild itself. The Unfinished Exhibition, the first comprehensive examination of American art at the Centennial, explains the critical role of visual culture in negotiating memories of the nation's past that conflicted with the optimism that Exhibition officials promoted. Supporting novel iconographical interpretations with myriad primary source material, author Susanna W. Gold demonstrates how the art galleries and the audiences who visited them addressed the lingering traumas of battle, the uneasy re-unification of North and South, and the persisting racial tensions in the post-Emancipation era. This careful consideration of the visual record exposes the complexities of the war's impact on Americans and clarifies how the Centennial art exhibition affected a nation still finding its direction at a critical moment in its history.

Dante on View opens an important new dimension in Dante studies: for the first time a collection of essays analyses the presence of the Italian Medieval poet Dante Alighieri in the visual and performing arts from the Middle Ages to the present day. The essays in this volume explore the image of Dante emerging in medieval illuminated manuscripts and later ideological and nostalgic uses of the poet. The volume also demonstrates the rich diversity of projects inspired by the Commedia both as an overall polysemic structure and as a repository of scenes, which generate a repertoire for painters, actors and film-makers. In its original multimediality, Dante's Commedia stimulates the performance of readers and artists working in different media from manuscript to stage, from ballet to hyperinstruments, from film to television. Through such a variety of media, the reception of Dante in the visual and performing arts enriches our understanding of the poet and of the arts represented at key moments of formal and structural change in the European cultural world.

This four-volume edition of primary source materials documents the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the first volume discusses the theories and discourses that underpinned nineteenth-century design, ranging from design reform to aesthetics, and from the question of ornament to design education. The second volume looks at the designed objects, images and spaces that were created in the period. These include discussion of design in interiors, industry, fashion, graphics and architecture amongst others. The third volume considers the issues of design production and practices including debates about the role of machine and craft and the impact of new materials and technologies. The last volume looks at actors, intermediaries and mediators associated with the design domain. Taken together these sources, with their contextual introductions and headnotes, present a valuable overview of a broadly defined design culture during the long nineteenth century. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

Desire and Avoidance in Art argues that while early developmental traumas can produce life-long creative endeavors with striking aesthetic results, they may also, for the male artist, result in destructive relations with women. Brink introduces the scheme of personality formation - as found in the work on infant and child development of John Bowlby, Mary Ainsworth, Mary Main, Patricia Crittenden, Allen N. Schore, and others - to explore a new venture in psychobiography. He effectively uses the concept of «anxious attachment to describe mother-infant/child relations and their sequelae. Using pertinent developmental data found in each artist's childhood, Andrew Brink accounts for the anxious-avoidant attachment style (or, in Crittenden's terminology, the Anxious/Controlling style) from which these artists suffered. He aims to explain why partnerships with women are sometimes hazardous and frequently tragic for male artists by referencing various feminist writers. Based on their viewpoints, Brink extracts psychodynamic explanations that are largely based on what the artists' imagery reveals. Furthermore, he explains how the attachment theory of attraction-avoidance is shown to supplement and enrich other ways of understanding chronically tense relations between the sexes. Brink focuses his attention on artists such as Picasso, Bellmer, Balthus, and Cornell, who are culturally powerful and often stimulate discussion about misogynic figures within a social context.

This book casts light on and celebrates the life of a great Scot who was once the Laird of Benmore, now Benmore botanic garden. Whilst most are familiar with the collections of Burrel, few have heard of James Duncan. Yet had Duncan's collection remained intact it would have been internationally recognised and significant to Scottish culture today.The first Scottish collector to purchase an Impressionist painting, Duncan had an extraordinary eye as a collector at a time when Victorian sensibilities frowned upon many modern works. At his estate, Benmore in Argylleshire, Duncan amassed a collection of international import, housed in his own vast gallery and open to the public, along with his other projects a fernery and a sugar refinery.

In Neo-Impressionism and Anarchism in Fin-de-Siecle France, Robyn Roslak examines for the first time the close relationship between neo-impressionist landscapes and cityscapes and the anarchist sympathies of the movement's artists. She focuses in particular on paintings produced between 1886 and 1905 by Paul Signac and Maximilien Luce, the neo-impressionists whose fidelity to anarchism, to the art of landscape and to a belief in the social potential of art was strongest. Although the neo-impressionists are best known for their rational and scientific technique, they also heeded the era's call for art surpassing the mundane realities of everyday life. By tempering their modern subjects with a decorative style, they hoped to lead their viewers toward moral and social improvement. Roslak's ground-breaking analysis shows how the anarchist theories of Elisee Reclus, Pierre Kropotkin and Jean Grave both inspired and coincided with these ideals. Anarchism attracted the neo-impressionists because its standards for social justice were grounded, like neo-impressionism itself, in scientific exactitude and aesthetic idealism. Anarchists claimed humanity would reach its highest level of social and moral development only in the presence of a decorative variety of nature, and called upon progressive thinkers to help create and maintain such environments. The neo-impressionists, who primarily painted decorative landscapes, therefore discovered in anarchism a political theory consistent with their belief that decorative harmony should be the basis for socially responsible art.

Kempe offers a radical revaluation of the life, work and reputation of Charles Eamer Kempe (1837-1907), one of the most remarkable and influential figures in late Victorian and Edwardian church art. Kempe's name became synonymous with a distinctive style of stained glass, furnishing and decoration deriving from late mediaeval and early Renaissance models. To this day, his hand can be seen in churches and cathedrals worldwide. Drawing on newly available archive material, Adrian Barlow evaluates Kempe's achievement in creating a Studio or School of artists and craftsmen who interpreted his designs and remained fiercely loyal to his aesthetic and religious ideals. He assesses his legacy and reputation today, as well as exploring his networks of patrons and influence, which stretched from the Royal Family and the Church of England hierarchy to the literary and artistic beau monde. These networks intersected at Kempe's stunning Sussex country house, Old Place, his 'Palace of Art'. Created to embody his ideals of beauty and history, it holds the key to understanding his contradictory personality, his public and private faces. This book will appeal to everyone interested in Victorian art in general and stained glass in particular. Detailed and wide-ranging, Kempe tells a compelling story.

A legendary figure within the Surrealist movement, Robert Desnos (1900-1945) has left a unique legacy as a poet of distinction, as a 'dormeur eveille revered by his fellow Surrealists, and as a free spirit par excellence. In celebrating Denos's unique creative voice, this book re-evaluates his prominence within and beyond the Surrealist movement, reappraises his status as a poet, and sheds new light on his contribution to the literary and cultural life of his age. The essays in the volume reflect the ongoing vitality and relevance of Desnos's poetry and the originality of his contribution to the various other forms of expression in which he excelled: Journalism, short stories, script-writing and song-writing. Desnos's extensive writings on art and artists, his active involvement in avant-garde film and his close associations with a number of renowned painters are also addressed. This fresh look at Denos's activities and contexts includes an interview with the artist Georges Malkine's daughter, Fern Malkine-Falvey, and a study of the memoirs of Desnos's wife, Youki. The volume closes with a rare collection of journalistic writings by Desnos which appeared in Le Soir in the late 1920s and have never appeared in print since their original publication.

In 1968, near the end of his life, Picasso made 347 etchings that show his interest in television and film, wrestling, and the female nude. Some of the prints refer to old Celestina, the cunning marriage arranger featured in Fernando de Rojas's play. Others investigate the aging process, voyeurism, the orientalized setting of the harem, and explicit lovemaking as the Pope looks on. When the etchings were exhibited in Paris, and later Chicago, there was heated controversy on their status as pornography. In both cities the works were censored. Memory Holloway examines Suite 347 as a summary of the themes of Picasso's work, set in the context of the student conflicts of May 1968 and his continuing experimentation as a printmaker.

The history of art from the early nineteenth century on- ward is commonly viewed as a succession of conflicts between innovatory and established styles that culminated in the formalism and aesthetic autonomy of high modernism. In "Art and Crisis," first published in 1948, Hans Sedlmayr argues that the aesthetic disjunctures of modern art signify more than matters of style and point to much deeper processes of cultural and religious disintegration. As Roger Kimball observes in his informative new introduction, " Art in Crisis" is as much an exercise in cultural or spiritual analysis as it is a work of art history. Sedlmayr's reads the art of the last two centuries as a fever chart of the modern age in its greatness and its decay. He discusses the advent of Romanticism with its freeing of the imagination as a conscious sundering of art from humanist and religious traditions with the aesthetic treated as a category independent of human need. Looking at the social purposes of architecture, Sedlmayr shows how the landscape garden, the architectural monument, and the industrial exhibition testified to a new relationship not only between man and his handiwork but also between man and the forces that transcend him. In these institutions man deifies his inventive powers with which he hopes to master and supersede nature. Likewise, the art museum denies transcendence through a cultural leveling in which "Heracles and Christ become brothers" as objects of aesthetic contemplation. At the center of " Art in Crisis" is the insight that, in art as in life, the pursuit of unqualified autonomy is in the end a prescription for disaster, aesthetic as well as existential. Sedlmayr writes as an Augustinian Catholic. For him, the underlying motive for the pursuit of autonomy is pride. The "lost center" of his subtitle is God. The dream of autonomy, Sedlmayr argues, is for finite, mortal creatures, a dangerous illusion. The book invites serious analysis from art critics and theological thinkers alike. "Hans Sedlmayr "(1896-1984) was a founding member of the New Vienna School of art historians. His books include "The Architecture of Borromini, The Revolution of Modern Art, and Austrian Baroque Architecture." "Roger Kimball" is co-editor and publisher of "The New Criterion" and president and publisher of Encounter Books. His most recent book is "The Rape of the Masters: How Political Correctness Sabotages Art. "

This book expands the art historical perspective on art's connection to anatomy and medicine, bringing together in one text several case studies from various methodological perspectives. The contributors focus on the common visual and bodily nature of (figural) art, anatomy, and medicine around the central concept of modeling (posing, exemplifying and fabricating). Topics covered include the role of anatomical study in artistic training, the importance of art and visual literacy in anatomical/medical training and in the dissemination (via models) of medical knowledge/information, and artistic representations of the medical body in the contexts of public health and propaganda.

The first substantial Mexican colonial art historiography in English, this book examines the origin of the study of colonial art in Mexico as a symptom of the development of modern museum practice in mid-nineteenth-century Mexico City. Also an intellectual history, this study recognizes the role of nationalism in the initiation of art historical practice in what is understood today more broadly as Latin America. Although there has been a steady stream of scholarship produced about the subject, beginning in Mexico and increasingly in the United States, what is variably known as viceregal or colonial Mexican, Spanish colonial, and colonial Latin American art continues to be underplayed or overlooked by most art historians and is thus marginal in the field of art history. Ray Hernandez-Duran redresses that omission, presenting a detailed examination of the origin of the study of colonial art in Mexico. Drawing upon archival research, this volume touches upon the role of politics on the formation of the first gallery of Mexican painting in the Academy of San Carlos and the first comprehensive historical treatment of the material in the form of a dialogue. Furthermore, this study promotes further research in colonial art historiography and underlines the pivotal role that the Indo-Hispanic Americas played in the emergence of early modernity and the process of globalization.

Speed, acceleration and rapid change characterize our world, and as we design and construct buildings that are to last at least a few decades and sometimes even centuries, how can architecture continue to act as an important cultural signifier? Focusing on how an important nineteenth-century architect addressed the already shifting relation between architecture, time and history, this book offers insights on issues still relevant today-the struggle between imitation and innovation, the definition (or rejection) of aesthetic experience, the grounds of architectural judgment (who decides and how), or fundamentally, how to act (i.e. build) when there is no longer a single grand narrative but a plurality of possible histories. Six drawings provide the foundation of an itinerary through Charles Robert Cockerell's conception of architecture, and into the depths of drawings and buildings. Born in England in 1788, Cockerell sketched as a Grand Tourist, he charted architectural history as Royal Academy Professor, he drew to build, to exhibit, to understand the past and to learn from it, publishing his last work in 1860, three years before his death. Under our scrutiny, his drawings become thresholds into the nineteenth century, windows into the architect's conception of architecture and time, complex documents of past and projected constructions, great examples that reveal a kinetic approach to ornamentation, and the depth of architectural representation.

This collection of essays, inspired by Andre Breton's concept of the limites non-frontieres of Surrealism, focuses on the crossings, intersections and margins of the surrealist movement rather than its divides and exclusion zones. Some of the essays originated as papers given at the colloquium 'Surrealism: Crossings/Frontiers' held at the Institute of Romance Studies, University of London, in November 2001. Surrealism is foregrounded as a trajectory rather than a fixed body of doctrines, radically challenging the notion of frontiers. The essays explore real and imaginary journeys, as well as the urban derives of the surrealists and situationists. The concept of crossing, central to a reading of the dynamics at work in Surrealism, is explored in studies of the surrealist object, which eludes or elides genres, and explorations of the shifting sites of identity, as in the work of Joyce Mansour or Andre Masson. Surrealism's engagement with frontiers is further investigated through a number of revealing cases, such as a political reading of 1930s photography, the parodic rewriting of the popular 'locked room' mystery, or the surrealists' cavalier redrawing of the map of the world. The essays contribute to our understanding of the diversity and dynamism of Surrealism as an international and interdisciplinary movement.

Travel, Art and Collecting in South Asia questions what are ideas of vertiginous collecting, art-making and museums as expanded fields, including wonder houses and missionary museums (or museobuses) in Britain and South Asia. If the historiography of British India has privileged photography and the 'Imperial Picturesque', the emphasis here is on the formation of a creole modernity, one that considers the relationship between art and labour, including pearlescence and pearl fishing in Sri Lanka, and the iconoclastic/fetish debates and forms of collecting amongst missionaries. Eaton explores these themes alongside the genealogies and modernities of white(ness) in contemporary curating and amateur female practice, and how the museobus or museum as a unique object has informed the work of contemporary artist group Raqs Media Collective. This book will be of interest to scholars in art history, Asian history, and imperial and colonial history.

Originally published in 2004. Once the most popular Victorian artist, G. F. Watts was also a complex and elusive figure. Influenced by evolutionary theory, he reinterpreted the tradition of the classical body, while his philanthropic and educational interests informed projects for a more affective public art. This book is the first modern account of the full range of Watts's different artistic interests and practices. Offering fresh approaches to his historical, allegorical and mythological paintings, it also traces his increasingly radical approach to portraiture and sculpture and examines the institutional and biographical factors behind his immense public profile. Together the essays present a comprehensive analysis of Watts's work and his vital relationship to the intellectual, cultural and social forces of his time.